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Joe Harley
Recording engineers are responsible for getting the sound onto tape or disc, and some develop an audiophile following. Do you have a favorite?
Whoever engineered The Clash's London Calling (I don't know the name, but should), my own "best of" for a successfully walked tightrope between warmth and impact, fullness and detail, refinement and edge. For classical it would have to be Keith Johnson of Reference Recordings, for some of of the same reasons.
My favourite mastering engineer is George Marino (Sterling Sound). His CDs really sound more dynamic, loud, clear, free from noise, and almost give the last drop of details from this 16-bit old format. Mostly rock and metal groups (the most famous ones indeed) have their CDs mastered by him. This type of music really gives a lot of noise if mastered like a regular music type but not in his CD's. Most recently I listen Super Collossal (Joe Satriani) which is really wonderful (his CDs don't surprise me any more: they are excellent, as usual). You need extra clean, extra dynamic range, high S/N ratio CD recordings. Rock music by Geprge Marino really rocks!
Not for any audiophile reasons, but a happy memory is that many of the LPs I bought when I was kid have the message "Another Porky Prime Cut!" inscribed between the lead-out grooves. This is, of course, the calling card of George "Porky" Peckham.
Ry Cooder. Besides being an accomplished musician, the engineering work he did on Buena Vista Social Club is second to none. Among the best recordings I've ever heard, musically and sonically. The music industry would be a lot better if there were more guys like Mr. Cooder around.
Steve Albini isn't necessarily my favorite, but he seems to be overlooked by audiophiles. He does great work at rates any band can afford and does not try to influence the artistic choices. The industry needs to start listening to people like him if it is to survive.
Pulling from my earlier prog rock days, I can easily pick Terry Brown, Rush's engineer (and producer) of choice throughout their 1970s recording efforts. These days, though, I purchase primarily classical recordings. I have yet to come across a consistent name where I favor their sound above that of others. More often I notice that I prefer particular labels during certain eras, where a particular sound was consistent throughout regardless of engineer (say, Deutsche Grammophon during most of the 1970s). Maybe it's just that '70s analog acoustic that I prefer.
I don't have any specific names. Any engineer who records live-to-two-channels, like Michael Ross does on Here's To Ben by Jacintha on Grove Note GRV 1001-2, gets my vote. I hate the flat, sterile super clean, hear-the-rosin-on-the-strings recordings most studios turn out. Recordings like that sound very good. but have no life! Down with multitracking and overdubbing! Live to two channels is the way to get music that sounds like real people playing in a real room.
My favorite production team would have to be Richard Mohr and Lewis Layton, the producer and engineer who made most of the classic RCA Living Stereo recordings with Fritz Reiner and the Chicago Symphony. C. Robert Fine and Wilma Cozart Fine of Mercury would be a close second for their work on the Living Presence LPs.
Roy duNann of Contemporary Records 1956-60s and the Decca classical engineers 1958-78. Clarity , harmonic integrity and imaging. Look at those dates and sigh. There have been occasional other lps at that level but no one else has their consistency. The best shaded dogs are wonderful sounding, but not as accurate.
Bernie Grundman respects music, and his fabulous mastering technique proves it. I have had the privlege of working with Bernie on numerous occasions, and can tell you that he doesn't like electronics getting in the way of recorded music. Therefore, Bernie gets my absolute (and unsolicited) vote as the master of music.